Despite the abstraction of the music, the record was well received in Hungary and abroad, thereby setting the scene for his subsequent albums.

International recognition is probably noted by including the album in The Essential Jazz Records compiled by Max Harrison, Eric Thacker and Stuart Nicholson (Volume 2: Modernism to Postmodernism).

[2] Even though he could not record again until 1983, he maintained his status by establishing the Kassák Workshop for Contemporary Music, in which a new generation of musicians acquired a free and intuitive manner of playing jazz, with a distinct Hungarian sound.

Generally, his collaborators would make up the next generation of Hungarian jazz, including acclaimed saxophone player Mihály Dresch.

In Hungary, he proceeded to form MAKUZ, or the Royal Hungarian Court Orchestra, which membership varied, but always consisted of at least nine musicians that were committed to free, improvised music.